  CALENDAR OF EVENTS
DEADLINE TO SUBMIT: Sunday, March 9, 2025, 11:59 PM. NOTIFICATION OF ACCEPTED ARTWORK: Tuesday, April 1, 2025 by 11:59 PM. DROP OFF: Wednesday, April 16, 2025 11:00 AM - 1:00 PM at the Evanston Art Center, 1717 Central Street, Evanston, IL 60201. Shipped artwork must be received by April 16, 2025. EXHIBIT OPENS: Saturday, April 19, 2025 ARTISTS' RECEPTION: Friday, April 25, 5:00 PM - 8:00 PM CONCURRENT EVENT: CAVA's Learning Symposium on Sunday, May 25, 12:00 to 3:00 PM. Free for CAVA Members. PICK UP: Sunday May 25, 10 AM-12 PM and 3:00-3:30 PM. Artists are responsible for on time delivery and pick up. All work left beyond the pick up date is subject to a $10 daily fee and is uninsured after 5 days.
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I have a bunch of small mirrors that I can't build a larger piece out of. So I'm going to making this series based on millefiori paperweights out of them. I'm also working on a globe vase. I'm always cutting and grinding leaves for Canopy and SuperBloom.    Update: Permafrost and Thwaites Glacier were selected for this show. "accepted for inclusion at Arts DuPage’s Rare Glimpse Exhibit at Oesterle Library, 320 School Street, Naperville, from March 27 through May 5." The jurors had questions about how heavy the mirrors are. I have to include the weight of the mirrors in applications because some galleries are afraid they weigh a lot. A lot of galleries use these acrylic sticks that suspend from a track at the top of the wall for installations. (I don't like this method)((Yet I have to use it at work)) These acrylic mirrors only weight 20 pounds tops, but probably between 10 and 15. I move them around without thinking about it and they are easy to hang. I need to do a ranty post about the different methods of installing art shows.  These are the entries for the Call for Entries I posted a few days ago for "Rare Glimpse" co-sponsored by Arts DuPage and North Central College Art Gallery. Statement for Entry #1 "Permafrost" "Permafrost" offers a rare glimpse to appreciate the important place of a dwindling keystone of our home world’s climate. The mosaic invites us to pause and reflect upon the vast permafrost tundras as they begin to trickle away and the familiar terrain of the higher latitudes collapses. “Permafrost” is part of the Floe Series about the continuing disappearance of geologic bodies of ice. This work is part of the “Floe” series which consists of a series of woven glass and reflective bead mosaics composed of hexagonal tiles that mimic crystals of ice about extant bodies of geologic ice. The mosaics are layered over round convex safety mirrors that enhance the look of ice and redouble the light passing through the glass beads, enhancing their luminosity.  Statement for Entry #2 "Thwaites Glacier" offers a rare glimpse to appreciate a keystone of our world’s climate that is in danger of imminent loss. The mosaic invites us to pause and reflect upon a polar view of the glacier as it is undercut by warmer than usual ocean currents. There is concern that its giant ice shelf may give way and allow the rest of the glacier to flow down into the ocean causing an alarming rise in global sea level. This work is part of the “Floe” series which consists of a series of woven glass and reflective bead mosaics composed of hexagonal tiles that mimic crystals of ice about extant bodies of geologic ice. The mosaics are layered over round convex safety mirrors that enhance the look of ice and redouble the light passing through the glass beads, enhancing their luminosity.  Statement for Entry #3
"Arctic Ice Sheet" offers a rare glimpse to appreciate the capstone of our home world’s climate that is in danger of vanishing. The mosaic invites us to pause and reflect upon a polar map of the seasonally waxing and waning ice sheet in the arctic circle. The ice sheet is being undercut by warmer than usual ocean currents as well as higher summer temperatures. This work is part of the “Floe” series which consists of a series of woven glass and reflective bead mosaics composed of hexagonal tiles that mimic crystals of ice about extant bodies of geologic ice. The mosaics are layered over round convex safety mirrors that enhance the look of ice and redouble the light passing through the glass beads, enhancing their luminosity. Note: This series is a bummer, especially with the artist statements. The judges might not want negativity in their show. But as I wrote before, the day may come when these cold pieces evoke a wistful and warm glow of nostalgia. The word count didn't allow room for me to add that.  Gary Schirmer art professor of College of DuPage, NIU and Aurora U awarded Oceanic Panopticon the Best in Show ribbon at Addison Artist Guild's 2022 Spring Members' Show today. I am grateful and honored for the recognition.
In other news, Enchanted Spring was accepted into the CAVA art show in Beverly that opens in a couple of weeks. Blackfoot glacier was accepted into Sculpture at the Kavanagh. CALENDAR OF EVENTS
DEADLINE TO SUBMIT: Sunday, December 5, 11:59 PM NOTIFICATION OF ACCEPTED ARTWORK: Monday, December 15, by 11:59 LOCATION: Mayslake Peabody Estate, 1717 W. 31st Street, Oak Brook, IL. 60523 DROP OFF: Monday, January 3, 2022; 5:30 - 8:00 p.m. EXHIBIT OPENS: Wednesday, January 5, 2022 OPENING RECEPTION: Saturday, January 8, 3:00 - 5:00 PM GALLERY HOURS: Monday-Friday Noon-3:00 PM, Saturday 9:00 AM-1:00 PM FINAL DAY OF EXHIBITION: Saturday, February 26, 2022 PICK UP: Saturday, February 26, Time TBD  Goldilocks Panopticon 1, 2021, is a woven glass and reflective bead tile mosaic on a full dome security mirror with optional chain for suspending it from a ceiling or beam. It is part of the Panoption series. I am working on a 36" GP2. Below are some WIP shots:   There are two more Goldilocks spinoffs. One is a vase still in progress and this little study was given as a birthday gift.   'Honeymoon Panopticon, the second piece in the Panopticon Series, was inspired by a lack of consent, betrayal of romantic intimacy, and a smart phone. That’s all I’m going to say about that. Unfortunately, the problem of lack of consent isn’t limited to intimate interpersonal relationships. It has become a concern worldwide. This results in an imbalance of power between the subjects of data collection and those who use it. The Panopticon Series explores both the benefits and drawbacks of humanity's new capabilities to observe each other, our world, and our universe. The piece is a woven bead tile mosaic on a 36" convex security mirror. Each tile is woven into the shape of a heart with reflective, pearly, and iridescent beads. This piece will be debuted at Sculpture at the Kavanagh opening March 26, 2021. You can view the exhibition in person or through a virtual exhibition. More info at the Fine Line Art Center's web site.    Above photo shows Outgrowth 2 in low light. It changes a lot with different lighting. It measures 6' x 6' x 6' centered on a floor corner of my poured-concrete basement. It is made entirely out of hyperbolically woven glass and reflective acrylic beads. And lots and lots of clear Gorilla tape. The piece can be dismantled and recreated elsewhere as a temporary installation or a permanent, outdoor piece with clear caulk. I'm very happy with this. I was very happy with Outgrowth 1, but number 2 turned out better than expected. The big difference between the two was the mosaic wall placement. For Outgrowth 1, I used the irrational number "e" (2.7182818284590452353602874713...). It is a number that shows up in population growth so I used it to place the mossy areas along the crack between to the three surfaces and onto the planes. It gave it a more natural growth pattern and, even better, I didn't have to fuss over where to place everything. I *did* fuss over where to place the wall tiles in Outgrowth I and it shows. For Outgrowth 2, I decided to divide the two vertical walls into 10 equal sections with 5 straight lines emanating from the origin point in the corner. I attributed each of those lines a digit from 1 to 0. (I can't remember why I decided to put 0 at the end instead of the beginning.) ((If anyone has a reason it should be the other way around, please let me know!)) Then I placed a wall tile using the line as the axis of growth for that number. I had blocked out two piles of colored tiles prior to installing. I wanted to keep same-color groups together so it would look like there were transitions to different colonies of lichen growing up the wall. Fun fact: the S curve in the final design did not appear in the original concept sketch. The S-curve fluctuates back and forth but remains centered on the growth axis.  It's hard to photograph this body of work because the light effects are luminosity- and angle-dependent. A still photo captures a tiny sliver of the experience. I'll be making more videos featuring each piece to give people a better idea of their visual dynamics and dimension. The first video I did for this piece is fairly one-dimensional because it is a time lapse of the installation. I thought it would be fun to have little videos showing these pieces growing. The first one I made for Outgrowth 1 was terrible but got the point across. I'm learning. The video for Outgrowth 2 is a little better. (These are made with social media in mind.) Here's a short video in which I am wearing the light source. For the next video I'll try a fixed light source behind the camera.  I finished Black Star Panopticon a few days ago. It is bead mosaic on a 26" x 26" security mirror. These are the security mirrors that show if a truck or person is coming around the corner of the loading dock or if a kid is putting a bag of Funyuns down their pants at 7-11. I installed strap hangers on the back because it will look great hanging flush on a wall. I still have the installation hardware it came with if someone has a loft and wants to install it in a corner.
Continuing with the formal aspects...since making Blue Star vase, I've been searching for another object with a mirrored surface because I still want to explore optical layering effects between the mirror, different qualities of glass beads and the reflective acrylic beads. I had considered doing a mosaic on a typical household decorative mirror, but wasn't excited about the idea because they are flat. Back in the day, doing art consulting and interiors I designed/ordered and installed a lot of decorative mirrors along with more typical art works. I was happy to find this mirror so I could add a dark industrial twist to domestic mirrors and enjoy working on a convex shape instead of settling on a flat mirror. The tiles of the bead mosaic are little ~3/4" woven hexagons of only 12 beads. I got a nice net pattern out of them. It's obviously a hand-placed mosaic and not a precision CAD print, but the hexagons still give the piece an engineered fell about it. Putting a security mirror in a strategic area of a home adds to the panoply of surveillance devices we have elected to live with. Someday, maybe I will find one of those interactive internet hubs people talk to in their homes and take a picture with BSP above it. I want to make another one.  'Outgrowth Figure 1' was a temporary wall mural installed in early August 2020 made from the components I was making for a larger installation, 'Outgrowth 1.' It was a good way to get familiar with the temporary adhesives and work out how I was going to build things in the Outgrowth Series. The series is designed for temporary site-specific installations in galleries and outdoor seasonal exhibits. The components of the series are made out of woven glass and reflective acrylic beads. The shapes of the components grow using the same algorithm. The larger pieces with more beads take on obvious hyperbolic, organic shapes. En masse the components appear to be growing colonies of climbing lichen or lush moss. Negative space embellished figures from the 'Outgrowth' series can be interactive. If the mural is created on a light-colored wall with a strong light source behind, visitors' shadows will be cast onto the wall and animate the negative-space figures. The light source also makes the luminous reflective beads shine as the shadows pass beyond them.  |
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